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Tag Archives: Instrumental

Dark shadows and melancholic immersions can be quite meditative, certainly in the hands of Vulturium Memoriae. This is exactly what the one man project of Italian musician/composer Mirg reveals with new album Nato per ragioni ignote, which translates as “born for unknown reasons”. Consisting of six simultaneously mesmeric and oppressive landscapes converging into one epic soundscape of emotively intense instrumental exploration, the album is a fascinating and at times breath-taking encounter. Creating a haunting and proposition for ears and thoughts, not forgetting emotions, cast in a weave of sound seeded in dark wave /post black metal ambiences, the release is as intimidating as it is seductive and perpetually a compelling flight for thoughts to ruminate and get lost in.

Each track upon Nato per ragioni ignote is fuelled by repetition and tides of melancholia, yet at no point from opener Dissolvenza della ragione onwards does it become a doom clad drone or lack a light kissed tempering to the brooding darkness explored. The first track looms with an urgency which is never quite repeated throughout the song and release again. It is a hectic sonic and almost bedlamic start which provides the springboard for a slowly turning sonic and emotional contemplation with a just as swiftly emerging nag of heavy restrained beats and smouldering shards of acidic guitar expression that engulfs senses and imagination with equally strong persuasion. Already though there are numerous levels and textures to the piece, a great bass prowl tempering the sharp touch of the guitars but enhancing the heavy intimidating air of the track.

Its sink into cavernous darkness cultured emotions is given a new shade of colour and angst by the similarly languid yet stirring embrace of Onde psichiche di coscienza. For almost twelve minutes the track permeates every thought and emotion with its psyche challenging sonic and rhythmic iteration and for the same time it enthrals and lures the listener into their own cornered off shadows. Sonically lighter in tone but no less a potently simmering trespass, the track bewitches and intrudes before Miraggio attraverso i ricordi steps up with its arguably calmer emotional distress. As in all pieces of music, you feel yourself floating across or falling into the jaws and clutches of places you maybe wish to avoid with rewards which only invigorate and fascinate. Carrying a greater noir clad danger and threat than its predecessors, the track is wonderfully cinematic and gloriously epic in its breath, Mirg creating smog of absorbing invention and emotional provocation over a surprisingly understanding drum machine spawned bait of rhythms.

The album’s title track seduces next, its brief presence, in comparison to other songs, a radiant soar across more gentle and eerily romantic terrains before drifting away into the following and scintillating Grigiore a cielo aperto and its heavier, darker, more unearthly scenery of blackened musings. The most suffocating track on the album, it is equally the most invigorating physically and emotionally, its every imposing twitch and scorching tendril a transfixing narrative to explore and interpret.

The release closes with the morose drift of Lungo l’orizzonte dell’addio, a piece which seemingly floats across the senses but leaves barbed hooks and startling abrasions to linger in ears and thoughts long after its departure. It is an immense end to a ravishing sonic incitement, a release which leaves scars as it ignites every aspect of the listener.

In some ways the album is easier to listen to as individual tracks or in stages but this does lose the towering impact and effect of the encounter, so be brave and let Nato per ragioni ignote take you to places inside even angels fear to tread.

When a band lists someone like the brilliant French experimental / avant-garde metallers Pryapisme as an influence we have to sit up and be seriously intrigued, and so it was with Russian band Second To Sun and their recent Three Fairy Tales EP and following singles. The trio did not disappoint either, unleashing their own distinct and furiously flavoursome instrumental alchemy across enthralling tracks thrilling and igniting the senses. Describing themselves as playing “modern and hardcore music with the elements of black metal and ethnic Finno-Ugric music”, it only gives a hint of their impressively diverse and seamlessly sculpted tapestry of sound. Arguably it is not as psyche stretching as the music of their French inspirations, but every song has a creative drama and refreshing unpredictability, not forgetting striking craft, which has ears and imagination in bliss.

Second To Sun began in 2012, created by guitarist Vladimir Klimov-Lehtinen and drummer Artem Vishnyakov. First EP The God’s Favourite Whore was the band’s first declaration but followed soon after by the departure of Vishnyakov. Though initially working alone, Klimov-Lehtinen eventually brought bassist Anton Danilevsky and drummer Theodor Borowski into the band with the trio unveiling debut album Based On A True Story in 2013. Last year saw the release of Three Fairy Tales and subsequently two singles ending with Spirit Of Kusoto last December, all awakening an increasingly broader spotlight on the exhilarating sound of the band beyond Russian borders.

Three Fairy Tales opens with the outstanding theatre of The Trapper, a track swiftly building a tall sonic narrative of blackened intrigue and melodic toxicity. With rhythms swiping with fully flexed muscles, the track is an imposing and gripping protagonist from its first breath but soon showing its penchant for slipping into unexpected and fluidly evolved detours. For the main though the song is a predatory confrontation, sparking with the creative fury of a Meshuggah and the raw toxins of a Dodheimsgard. As it evolves and expands its temptation, a kaleidoscope of imaginative adventure and creative drama enters the resourceful tempest; keys spurting out bedlamic expression and guitars a virulent sonic seduction which leaves ears and emotions basking in the dark adventure. The track provides music you can imagine fitting twenty first century interpretations of Hans Christian Andersen tales and darker gothic persuasions.

The electronica seeded Merämaa comes next with bubbly synth lit vivacity to its intimidating yet bewitching shadows. Stabbing bass and guitar bait is a staggered lure within the almost folkish revelry of the piece whilst intrusive rhythms align and twist their tempting to it all with almost St Vitus dance like voracity. The song flows and erupts with inescapable contagion, providing a festival of sound and intensity which is as threatening as it is invigorating.

Closing track Barmaley lies somewhere between the previous two, its heavier antagonistic rhythms and uncompromising intensity colluding with feverishly coloured and melodically fuelled tenacity. As the first pair of songs, it is an invitation to senses and imagination to run with their own provocative tales and exploits, providing all the raw and thrilling material for dark tales and cinematic exploits to be conjured. There is a feel of Obsidian Kingdom to the track in some ways too ensuring the song makes for another irresistible emprise to greedily devour.

Released just before Christmas, the bands new single Spirit Of Kusoto unveils another mesmeric and corrosive side to Second To Sun’s sound and imagination. It is soaker in a harsher and less forgiving texture and presence than those songs on the EP but still infuses a veining of sonic radiance and melodic devilry to temper and ignite the savagery elsewhere. At times almost punkish in its hardcore causticity, the track feverishly worms under the skin and scores the psyche with consummate ease.

We have not mentioned the excellent track Narčat, a single coming between the two above releases, but it also, as Second To Sun itself, is a definite recommendation…actually make that a must for all avant-garde and adventurous metal fans.

After their riveting and extraordinary album Thoughtscanning of last year, the appetite for something more from We All Die (laughing) has been the epitome of hunger. It is a want and need now richly satisfied by the band’s new offering, the Tentoonstelling EP, well certainly by half of it. Consisting of two tracks, one from the duo of Déhà (Maladie, COAG) and Arno Strobl (Carnival In Coal, 6:33) and a second piece by Mathieu Drouet, a French photographer for whom We All Die (laughing) composed the lead track, it is a provocative encounter of instrumental temptation which pushes the imagination into dark and sinister landscapes.

When asked by Drouet to contribute a track to a contemporary art project for his Grande Plage exhibition planned for January 2015, We All Die (laughing) crafted the instrumental Variation on the scanning of thoughts, a piece inspired by and a companion to the band’s extraordinary one track album. The exhibition itself is based on photography of Drouet which the artist ‘considers worth being used as cover artwork for music releases’. Consisting of twelve pieces, he chose a similar number of bands to contribute a track (also including The Lumberjack Feedback) of which a single copy 12″ EP would be released with one of his pictures as the artwork along with an’ experimental audio rendition of the photography’s digital file’s data’, basically an aural portrait of the picture cloaking the release.

Variation on the scanning of thoughts is a piano sculpted exploration, a shadowed and brooding suggestiveness which wraps seductively around the senses and imagination whilst soaking both with melancholic expression. Noir lit jazz scenery colours the evocative canvas throughout whilst sharing hues with a more choral persuasion, their entwining suggestiveness a haunting embrace within the oppressive atmosphere. The press release with the EP declares the track as more depressive than the band’s adventure upon Thoughtscanning which is easy to agree with, yet as the music permeates ears and emotions there is also an imposing beauty and stark elegance which ignites the warmth of hope in song and reactions. As always with the band, it is a healthily long piece which provides a template for the listener’s imagination to fill and colour whilst emotionally it is a provocation which is as cinematic in drama as it is intimate.

The following Grande Plage, OP. 1, Movement #1: Le Noir from Drouet is the complete opposite and whilst you can understand and respect its breeding, the track is an underwhelming challenge. A sonic expanse of electronic smog, a static wave which ebbs and flows but makes for a constant irritant, the track is a ten minute excuse to return to the majesty of its predecessor. Again it is a piece which will inspire or push away individual thoughts and imaginations, with ours unreceptive, but it is a pale if initially intriguing companion against the magnificence of the lead track and the musical alchemy of We All Die (laughing).

Following on from their seemingly universally acclaimed debut album, Canadian progressive metallers Unbeing have released the exceptional Raptus EP, a rich and compelling journey for the imagination and emotions. As technically captivating and enthralling as it is evocatively absorbing and invigorating, the four track release whisks the listener across an expansive landscape of sound and adventure but one also soaked with an intimacy which provocatively caresses thoughts and feelings. It is a compelling and exhilarating proposition, easily one of the most pungently inspiring instrumental releases in quite a while.

Formed in 2006, Unbeing began as a three piece. Line-up changes ensued whilst two demos in 2008 and the following year respectively, drew strong and enthused reactions. The Montreal band then won Metal Académie 2, a two month competition judged by the likes of Kataklysm. The next step in the evolution of the band, seemingly inspired by the judges’ comments of that competition, saw the band dispense with vocals and concentrate on their already striking instrumental explorations. Over the past eight or so years the band has continued to evolve and impress live, sharing stages with bands such as Neuraxis, The Red Chord, Walls Of Jericho, Martyr, Katatonia, Incision, Anonymus, Beyond Creation, and Scale The Summit along the way. 2011 was the year of their self-titled debut album, with the band at this point grown to a quintet. It received acclaim from fans and media alike, its re-release two years later as a re-mixed and re-mastered vinyl edition equally devoured by the metal community. Now it is the time of the Raptus EP to spark the passions, something its twenty minute flight across a Montreal Metro themed incitement is sure to repeat time and time again as it draws minds and hearts into its imaginative aural poetry.

Unbeing opens up EP and imagination with Rapture which from the first wind of metal on rail coaxes with an evocative melodic enticement which wraps elegantly and creatively around ears and thoughts. Rhythms shuffle erratically but purposefully over the senses as guitars and keys cast a fine web of intrigue and awakening urgency. It is a dawning, an inventively expressive entrance into a busy and continually but gently escalating fever of activity and emotionally rich dramatic hues. The outstanding track flows into the next carriage of the evolving adventure, the following Batterie Faible bringing a more settled and sultry air to the emerging scenery. There is a jazzy breeze and breath to the caress of the song, again the guitar of Sherif El-Maghraby and the seducing keys of Martin Labelle washing over ears with a contagiously picturesque and melodically fuelled sonic design. Entwining peaceful climes and tenacious rapacity, the song intermittently seduces and agitates the emerged vision in thoughts, bursts of aggressive intent swarming across less intensive moments. It is all irresistibly framed and veined by the shadowed emotional hunger of Jean-Philippe Bédard’s drums and the increasingly provocative swing and flirtatious grooves of bass from Alexandre D’Amour, their drama alone potent fuel for the quite exceptional and embracing, physically and mentally, piece of adventure.

Over the two songs thoughts of the likes of Tesseract and Pelican come forward but also in different ways others like The Ocean and indie instrumental band Human Pyramids, particular elements, textures, and melodic paintings pulling loose but definite comparisons. The next up Tetris Rufus sparks similar thoughts but again another fluid shift in the journey sees the listener taken into darker more metallic structuring within a melodically incendiary climate. There is a volatile edge to the piece too, guitars striking at ears with jagged riffs whilst rhythms pounce upon and bustle their way across the senses. That rugged swirl of intent and intensity though is tempered and held in the thick emotive heated hug of resourceful keys, their touch and suasion a constantly changing mesh of warm feelings and anger defusing vivacity.

Final track 2nd Cup flows elegantly out of another underground sourced sample between songs. It swirl and dances with seductive melodies for an immersive mesmeric embrace to which more mercurial flames of heavier incitement and energy smoulder with urgent intensity across the incoming sunset of sound around another ebbing of adventure. El-Maghraby exploits the frenetic climax of the experience deliciously, his fingers manipulating the final throes of the journey and crescendo of emotion before the eventual peace of the destinations end clangs and leaves its disappearing mark. As all tracks it is a sublime piece of composing and realisation to which the band add their individual and united insatiably scintillating descriptions.

Raptus is the perfect instrumental adventure, one which never gets fussy or over-elaborate, but also never misses the opportunity to aurally and emotionally explore every nook and cranny of its ideation and premise as well as the imagination of the listener. The Raptus EP is an essential investigation which if you are quick Unbeing has made available for free download until the end of July at their own website. What still here?

Virulently mesmeric and grippingly enthralling, Imperfect Symmetry is simultaneously a flight through expansive poetic scenery, an exploration of intimate emotions, and a fly on the wall reflection of evocative life. Certainly as the new album from Tom James Parmiter seduced senses and thoughts that is the emotive web which compellingly caught our imagination. Consisting of ten instrumental insights crafted by the undeniably impressive piano and keys skills of UK based composer Parmiter, the album is an emotional and cinematic adventure for a similarly exploratory vision of the listener. It is experimental without being inaccessible and soaked in a perpetual ambience which evolves and caresses with a poignant breath to which the colour rich melodies and descriptive hues of Parmiter’s craft, paints compelling narratives.

The follow up to the well-received 2011 album Providence, the Zube Records released Imperfect Symmetry has been two years in the making with everything from writing to performance Parmiter alone. It is an absorbing brew of classical and orchestral elegance entwined in a modern electronic and melodically twisted voice ensuring each track is an individual premise and provocative tale. It is a big step on from the more electronically sculpted Providence, revealing much more of the artist and emotional invention of the man.

The Paul Barton and Shaun Milton produced release opens with Remembrances, its full height of sound emerging from a sonic mist which instantly engulfs thoughts with dark shadows and haunting intrigue. The synths wrap ears like thick emotional smog clad in sonic insecurities, a bewitching blanket which parts and swirls in appealing squalls as tender reflective keys cast the heart of the song and its evocative pallor. From its start the track transfixes ears to emotions but brings an even deeper enticement with its melancholic beauty which seduces for a long term engagement. With guitars adding additional texture and resonance to its climax, the piece departs for the following title track to sweep majestically into view. Like a fleet footed yet confidently graceful dancer, the piano skills of Parmiter glide poetically over the senses and imagination; every key touch and flight of fingers adding layers of melodic colour to the immersive picture of the track. Percussive scatterings ignite the sky of the piece from its mid-point, the music igniting thoughts of a city skyline under explosive artistic skies with a wave of bodies beneath courting ground and emotions with radiant motion. It is a glorious proposition which leaves the listener basking.

Both Shifting Sands and Aftermath explore unique soundscapes next. The first ventures through sultry yet seemingly stark scenery, drifting with sonic abrasing and a caustic caress within the expressive breath of the impacting incitement whilst the second brings a crystalline elegancy with spatial seducing into an emotionally imposing but smiling reflection dealing with what feels like emotional conflict. Though neither track matches the heights and deep enveloping of the first pair, each provides a thought provoking, attention stealing exploration which the following Cerulean with its clear magnetic air and hand takes back to the earlier plateau. A warm seduction of arresting ambience soaks ears which from within a slow spellbinding casting of piano from Parmiter creates a beauty and resonating melodic rapture. It is the most dramatic and beguiling piece of music, sirenesque in its enchanted and emotive richness, and along with the title track, the pinnacle of the album.

Piano Interlude is as it says, a piece of music which allows atmospheres to rest whilst simply conversing one to one with the ears. The track does not light the imagination as others but certainly has thoughts enthused and engrossed before the sophisticated worldly embrace of The Serpent and the epic evocative structures and emotional grandeur of Angkor Wat lie compellingly within ears. Both tracks take the listener into further rich expanses of scenic beauty and provocative creative enlightenment, and both thrill with a simple and honest breath.

The album is completed by the breath-taking Reawaken where from a slow coming to life, a dulled opening of eyes, you can hear and feel awe struck expression in the sound and breath of the song as it expands with orchestral radiance, and finally the arcadian grace of Serenity, a piece wrapped in pastoral hues and idyllic ideation. The pair makes a restful yet also shadowed conclusion to a quite riveting slice of instrumental alchemy.

There is a one really minute issue with the album which is that the tracks do not seem to have a linking essence or theme to them so that they can also combine for one vast landscape as well as alone pieces. Maybe they do and we just miss it but they feel like a collection rather than a collective but as said it is a tiny shade on a vivaciously fascinating encounter which as an emotional travelogue and imaginative composing brought with transfixing realisation is quite sensational.

Creating a fiercely evocative and tempestuous soundscape within the exploration of lucid dreaming and dream phenomena, UK instrumental band Telepathy unleash new album 12 Areas to dramatically incite senses, imagination, and emotions. The seven track album is an uncontrollably immersive enticement, a release which can seamlessly and skilfully move from seduction to brawling within the taking of a breath, all the time igniting intimate thoughts and feelings. The enthralling album charts the progression of an imposing dream and the levels of sleep states the mind experiences therein, dark shadows and at times torments within investigated but also the release casts suggestive provocation which can be translated to avenues within awaken states and emotional turmoil. The release is a breath-taking and at times demanding encounter which places Telepathy on a whole new plateau.

The band’s debut EP Fracture in 2011 alerted the metal world to the presence of the Colchester and Rewa hailing band, it’s unveiling of sludge and doom infused post metal sound drawing immediately eager attention. Their emergence was given greater potency by their live performances, which has seen the quartet play with the likes of Latitudes and Downfall of Gaia. The single Lucretius in 2012 again added extra fire to their increasing reputation but it is fair to say that the James Plotkin (Khanate, Old Man Gloom, Isis, Cave-In) mastered 12 Areas is a gripping and compelling big step forward in not only sound but stature. Infusing greater elements and essences of atmospheric and progressive metal into their instinctive sound, the album conveys a vaster landscape of technical and provocative sonic colour to their already thick and heavy canvas of sound. At times intensively debilitating and in others invigoratingly caring, the release sets a benchmark even they may find hard to surpass in the future.

{Hypnos} opens up the journey, casting a slow and uneasy fall into unconsciousness as the investigation by the album begins. From peaceful and elegant guitar designs courting a gentle coaxing, the track grows darker and more intimidating. Intensity brews its threat and unrest along the short piece, never thrusting its shadows over the senses but certainly making them aware of an impending emotional maelstrom which Saccade soon delivers. The track erupts with a horde like attack of riffs but soon tempers their charge enough to entangle the urgency in a web of incendiary guitar enterprise and eventful endeavour. The swiping sinewed rhythms cage off any escape whilst the bass brings a rapacious intent which only darkens the climactic scenery of the song further, but it is the twisting guitar narrative and evolving sonic antagonism which sends the imagination into a spiral of adventure and reflection.

The intrusive expression and almost erosive sonic palette of the song evolves further with the following Cystine Knot, its poetic melodies and predatory challenge a fuse to a conflict of light and dark, both carried on a flume of creative and technically gripping imagination. The heavy merciless element of Telepathy’s sound stakes its place within the tempestuous encounter, making intensive proposals which ensures that even in the radiant and absorbing melodic passages of safety and respite s lingering resonances are there watching on from distant shadows. As across the release, the individual skills and poise of the band is engrossing whilst their united furnace of intent and craft lays irresistible seeds which bloom to intensified raptures.

Sleepwalker slips into view on its own emotive ambience, the initial coaxing a potent enticement but one flirted with by twisted sonics and reserved menace. The moment to voice their toxicity is soon upon the senses though as the track spreads it’s captivatingly welcoming and equally threatening arms around the body; every thought, emotion, and spark of the psyche doused in mesmeric venom of sound and ideation. Though the piece ebbs and flows in its pressure on the senses, the track is a constant surge of striking and intrusive peaks which permanently spark like torrential crescendos.

The next up Breath-Motion provides another immense pinnacle on its way to taking best track honours. From its opening peace and ambient seducing, the track carves out a furrow of raging intensity and predacious ravaging within a spellbinding melodic and sonic web which cradles and wonderfully tempers the corrosive beauty of the track. Once it has full attention and control of its recipient’s mental and emotional state, the track begins stalking and chewing on its victim with insatiable invention and rigour, all the time creating a mouthwatering slavery of technical mastery and explosive passion. The track is sensational providing new torments and discoveries with every exploit within its cauldron of sound and ingenuity, something you can apply to all songs to be fair.

The brief but rabid distressed suffocation of {Deluge} paves the way for the closing creative swamp of To Kiss The Ocean’s Floor which expressively and commandingly gives the album a tumultuous finale in sound and overwhelming anxiety. It is a simply a tremendous end to an outstanding proposition. There are moments across the album where thoughts find loose comparisons to the likes of The Ocean, Abysse, and Pelican but Telepathy definitely sculpts something decisively unique to them, a proposition on the evidence of 12 Areas which will see the band become a very sizeable incitement ahead.

Lifting the listener’s thoughts and imagination into an expansive and emotional almost visual flight through an ever evolving soundscape broken up into smaller evocative sceneries, Vertebra the new album from Italian band Australasia is one of those absorbing emprises you just cannot pull away. Ten tracks of predominantly instrumental merging of post rock, shoegaze, classic electronica, and enthralling ambience, the release is a masterful and compelling adventure. There is though much more substance than that description suggests, flavours and styles bred elsewhere seamlessly employed in the melodic web cast, and when vocals are rarely used they are more another texture to the creative narrative than any lyrical storytelling. The album as skilful and magnetic as it is equally suggests this is a project still in evolution with greater glories waiting on its horizon, something which just adds to the pleasure bred by Australasia.

The band is the creation of multi-instrumentalist Gian Spalluto who has linked up with Mina Carlucci and Giuseppe Argentiero of fellow Italian band Vostok. Touched by influences which include the likes of Red Sparowes, At the Gates, Joy Division, This Will Destroy You, Angelo Badalamenti, Mogwai, Pelican, Ennio Morricone, Cult of Luna and more, the band provides emotive landscapes and mesmeric incites which never restrain themselves musically or imaginatively to any singular intent or limiting frame. Australasia’s debut release, the Sin4tr4 EP of 2012, opened up the gateway to the band and its invention which the Immortal Frost Productions released Vertebra continues with striking strides into the awakening imagination and aural world of the band.

The journey opens with Aorta and a guitar cast melody which as the album progresses is a regular protagonist if in varying guises and intent. It is a mellow coaxing of a start to the song which gathers intensity in its breath as it opens up its creatively sinewed arms and melodic armoury. Hitting full stride early there is a tempestuous union of post rock provocation and metallic sculpting which flows and moves towards a stretch of sonic beauty and evocative reserve. Impressive rhythms and drums steer the enterprising exploration superbly and the guitar play is quite riveting across the body of the song. In its final thirty seconds or so the track unveils a union of male and female vocal harmonies which provides a last wash of warmth and elegance to the impressively crafted flight.

The following Vostok immediately offers a vintage electronica sound to thoughts though it is soon smothered by a strong cloud of sonic shadows and blackened emotion. The song undulates thrillingly as it progresses, big mountainous rhythms and textures mingled fluidly with tender elegance and those returning electronic caresses before dissipating for a lone acoustic guitar to wave the dark climes away. It is a track which seems to pass so quickly in time and though almost four minutes in length its successor Zero is soon feeding the senses and providing another heady structure of melodic imagination and rhythmic incitement. Not for the first or last time, the music reminds a little of The Cure around the time of the Seventeen Seconds /Faith albums, a shadowed energy coating the air of the song but speared by a melodic beauty which only raises the spirit and light.

Next up Aura roams through a more electro pop /shoegaze realm with eighties synth pop flavouring, though yet again there are intimidating resonances and dark clad tempting which tempers the radiance enough to add wonderful doubt and menace to the calm. The track also sees the captivating voice of Carlucci swarm siren like over the senses. Lyrically the track is uncluttered with effective repetition whilst gentle soaring harmonies make the prime successful persuasion. Like all the tracks, the song seems simple but holds a real deception as everything is so precisely and imaginatively woven together. The closing vocal scat does not quite work for personal tastes but it does not deflect from the smouldering piece of enjoyment.

Both the melodically flamed but intensively blackened Antenna, one of two tracks on the album taken from the earlier EP, and the excellent towering bulgingly muscular Volume continue the impressive height and stature of the album whilst the title track provides a pleasing short Spring respite with expressive tones and soft weaves, even if it feels a little like an anti-climax from the immense and lofty force and heights carved previously.

The second track from Sin4tr4 steps forward next. Apnea provides a reflective blend of imposing density and melancholic beauty wrapped in another bewitching vocal wash from Carlucci and an electro courting which pokes light through the cloudier ambience. It is a delicious embrace which makes way for the bordering on corrosive presence of Deficit. Scuzzy and thickly bonded to the ears, the track thrillingly riles up the senses but then before they can accept the intimidation the piece twists in on itself to lay a beauteous glaze of melodic endeavour on the incitement. It is a short but scintillating piece of composing and realisation waking up the appetite even further for the closing seven minute plus epic of Cinema. Arguably the track is a shade too long but it is a mere quibble when it makes such a compelling temptation across its emotionally clad presence.

Vertebra is a spellbinding release though to temper that slightly maybe it does not ignite a fire in the belly of the passions as often as it arguably could or should have, though again to put that into context, it is fair and easy to say that Australasia has created an adventure which is impossible to resist or stay away from. The band has the potential to create their own legacy you feel as their album permeates through thoughts and emotions, Vertebra a very striking start.

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The RingMaster

Music writer/reviewer and band/release promo/bio writer.
Artists previously worked with include: In Vain, The Capsules, Solar Halos, Crashgate, Fahran, Centre Excuse, Evanstar, and many more as well as FRUK and Pluggin' Baby.
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Presenter of The Bone Orchard promoting the best underground bands and sounds from metal to rock, punk to noise and more and the RingMaster Radio Show presenting the cream of new indepedent releases across all genres both on Reputation Radio at http://www.reputationradio.
Dark poet at The Carnivale of Dark Words and Shadows http://carnivaleofdarkwordsandshadows.webs.com